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Hardcover. 4to. Published by Hatchard & Co., London, UK. 1939. 190 pgs. Illustrated with 2 color plates. First Edition/First Printing. Bound in cloth boards with titles present to the spine and blindstamped titles present to the front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. From the Foreword: "Readers of fairy tales and other romantic fiction will have noticed before this that the Mothers of the heroines are seldom featured. One would imagine that the effort of producing a female child destined to adventure was too much for the average Queen or Princess, since, if she has not already expired before the story opens, she usually manages to pass away before its close. Indeed, the only well-known ladies we can recall at the moment who do not so indulge themselves are Shakespeare's Hermione and Thaisa, who only pretend to be dead druing the years their daughters most need them, and Lady Capulet, who cannot be said to shine as a pattern of maternity. And we know that this state of things so depressed as when we were a small child that we made an early resolve to create a young heroine whose Mother should possess, besides beauty and rank, the additional and stupendous virtue of being alive..." EB; 8vo 8"-9" tall.

Hardcover. 4to. Published by Hatchard & Co., London, UK. 1939. 190 pgs. Illustrated with 2 color plates. First Edition/First Printing. Bound in cloth boards with titles present to the spine and blindstamped titles present to the front board. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. From the Foreword: "Readers of fairy tales and other romantic fiction will have noticed before this that the Mothers of the heroines are seldom featured. One would imagine that the effort of producing a female child destined to adventure was too much for the average Queen or Princess, since, if she has not already expired before the story opens, she usually manages to pass away before its close. Indeed, the only well-known ladies we can recall at the moment who do not so indulge themselves are Shakespeare's Hermione and Thaisa, who only pretend to be dead druing the years their daughters most need them, and Lady Capulet, who cannot be said to shine as a pattern of maternity. And we know that this state of things so depressed as when we were a small child that we made an early resolve to create a young heroine whose Mother should possess, besides beauty and rank, the additional and stupendous virtue of being alive..." EB; 8vo 8"-9" tall.

One of 500 numbered copies (this copy being No. 233), signed by the author and the artist. Quarto (10 1/8 x 7 15/16 inches; 257 x 201 mm.). [10], 189, [1], [1, printer's imprint], [1, blank] pp. Two color plates. Original quarter vellum over gray cloth boards, spine with navy leather label lettered in gilt. Corners a little bit bumped and one small chip to spine label. Minor soiling to the boards, otherwise an excellent copy. “Publication of this book encountered delays and difficulties because of the outbreak of World War II. Since paper and workmen were fast being commandeered by the British government, the book was rushed into print despite the fact that only 2 Dulac illustrations were finished. Once published, the book received mixed reviews…The redoubtable William Lyon Phelps of Yale also wrote a review stating that Mary Crary's book ‘…is a fairy story full of grace, beauty, wit, humor and charm…It is meant to be very high praise when I add that the illustrations by Dulac are worthy of the book. They add to its beauty'” (Hughey). However, the illustrations were not the only thing that Dulac designed for this book, he can be credited with the head and tail pieces and overall look. French-born anglophile Edmond Dulac (1882-1953) was one of the most prized artists of the “golden age” of book illustration. A gifted artist, especially in the medium of watercolor, Dulac's ability to render luxurious detail and subtle emotions is otherworldly. He is best known for his illustrations for books and magazines, although he also designed for the stage and wrote music; in moments of financial insecurity he produced serialized cartoons and became an authority on postage stamp design (White). Hughey 91. Very Good +.

One of 500 numbered copies (this copy being No. 233), signed by the author and the artist. Quarto (10 1/8 x 7 15/16 inches; 257 x 201 mm.). [10], 189, [1], [1, printer's imprint], [1, blank] pp. Two color plates. Original quarter vellum over gray cloth boards, spine with navy leather label lettered in gilt. Corners a little bit bumped and one small chip to spine label. Minor soiling to the boards, otherwise an excellent copy. “Publication of this book encountered delays and difficulties because of the outbreak of World War II. Since paper and workmen were fast being commandeered by the British government, the book was rushed into print despite the fact that only 2 Dulac illustrations were finished. Once published, the book received mixed reviews…The redoubtable William Lyon Phelps of Yale also wrote a review stating that Mary Crary's book ‘…is a fairy story full of grace, beauty, wit, humor and charm…It is meant to be very high praise when I add that the illustrations by Dulac are worthy of the book. They add to its beauty'” (Hughey). However, the illustrations were not the only thing that Dulac designed for this book, he can be credited with the head and tail pieces and overall look. French-born anglophile Edmond Dulac (1882-1953) was one of the most prized artists of the “golden age” of book illustration. A gifted artist, especially in the medium of watercolor, Dulac's ability to render luxurious detail and subtle emotions is otherworldly. He is best known for his illustrations for books and magazines, although he also designed for the stage and wrote music; in moments of financial insecurity he produced serialized cartoons and became an authority on postage stamp design (White). Hughey 91. Very Good +.